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Addressing Sibilance with my Peluso p12 Condenser Microphones
Old 27th May 2009
  #1
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Addressing Sibilance with my Peluso p12

Hey, so I just purchased a Peluso P12 that I'm using along with a DAV No.5. I just had my first session with my artist(rapper) and noticed that we were getting a lot of sibilance with the mic. Overall the mic sounded awesome but I'm trying to address some of the piercing highs. Should I address it post or pre?

Also, anyone in Atlanta have a Peluso 22 47LE? I'm curious to find out how my artist would sound on that mic in comparison...


Needlz.Net-Work
Old 31st May 2009
  #2
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mics's Avatar
 

get yourself a decent 6072a tube, that will help you immensly as the chinese tube that ships in the p12 is pretty bright.

cheers
Old 31st May 2009
  #3
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TTatman's Avatar
 

Quote:
Originally Posted by mics View Post
get yourself a decent 6072a tube, that will help you immensly as the chinese tube that ships in the p12 is pretty bright.

cheers

Ben, what 6072a do you recommend, and where can I get a couple of them? Thanks.
Old 1st June 2009
  #4
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Quote:
Originally Posted by TTatman View Post
Ben, what 6072a do you recommend, and where can I get a couple of them? Thanks.
I have always loved the GE or Tele versions. there are some pretty good ebay shops that deal with them. If you are brave though, you could have retofitted into it a ecc91 wired in parallel, mullard makes a great version of this tube, it sounds great in a mic circuit as the output impedance is so low (3k).

cheers.
Old 1st June 2009
  #5
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T_R_S's Avatar
Try a different pre
Old 1st June 2009
  #6
AB3
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If you can get a Lil Freq eq - the de-esser and processing section is awesome with the P12.
Old 1st June 2009
  #7
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Quote:
Originally Posted by mics View Post
I have always loved the GE or Tele versions. there are some pretty good ebay shops that deal with them. If you are brave though, you could have retofitted into it a ecc91 wired in parallel, mullard makes a great version of this tube, it sounds great in a mic circuit as the output impedance is so low (3k).

Thanks, Ben.
Old 1st June 2009
  #8
Quote:
Originally Posted by T_R_S View Post
Try a different pre
+1, surprisingly, different preamps can make a big difference in the amount of sibilance (I've experienced it firsthand ranging from obvious sibilance to very subtle with the same mic/singer, different pre).
Old 2nd June 2009
  #9
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u b k's Avatar
 

turn the mic off axis and shift it a little to the side, so that he's delivering past the capsule instead of into it.

or

raise it to forehead level and point it down at his chin. have him deliver straight ahead, not up at the mic.

I would exhaust all basic engineering approaches before considering capital-depleting ones.


Gregory Scott - ubk
.
Old 2nd June 2009
  #10
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feck's Avatar
I found the P12 to be very sibilant - although I like the Peluso mics, the P251 I had was very similar to the P12 with less obnoxious high end. My solution was to sell it - sorry I don't have an easy fix.
Old 3rd June 2009
  #11
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Tube World's Avatar
Buy a Pearlman TM1. With their improved capsule, there seems to be less of an issue.
Old 3rd June 2009
  #12
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alkooloid's Avatar
 

With a lot of vocal condensers I also do the 45 degree angle about forehead height pointed at the chin and then put a piece of bright tape on the
pop filter level with the mouth and have them sing to that. The chest is emphasized in this way and the mic is out of the way of the hot stuff.

I often use my Langevin AM4 channels for vox, and it has 3k and 5k
EQ points that I'll try to pull some of the crap out, smoothing things out,
depending on the singer. I'll also record 2 tracks, one with a ribbon,
and blend them later. Use the UA IBP or Voxengo Pha plugs to
dial out any phase issues, unless you have the real IBP, but I'm scared to commit like that.
Old 3rd June 2009
  #13
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TonyBelmont's Avatar
 

Honestly... try another mic and see if it fits his voice better.

Maybe the 47 LE is a better fit.
Old 3rd June 2009
  #14
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la grange's Avatar
 

have you tried the pen trick.
When you mention sibilance, do you mean mainly on S and T or does the sibilance occurs on other sounds as well.

Oli
Old 7th August 2009
  #15
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I've found that putting more distance is the key for most singers. A foot away and a little higher than their mouth and voila! loads of nice top-end, not much sibilance, and no need to really add or attenuate the highs.
Old 7th August 2009
  #16
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Fletcher's Avatar
Quote:
Originally Posted by la grange View Post
have you tried the pen trick.
All due respect, the "pen trick" is more about knocking down "plosives" [P's... low end stuff] than sibilance which is high frequency stuff.

Peace.
Old 7th August 2009
  #17
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Quote:
Originally Posted by TTatman View Post
Ben, what 6072a do you recommend, and where can I get a couple of them? Thanks.
I don't know if he has them but BOWIE here is a really nice guy to buy tubes from.
Old 7th August 2009
  #18
Try the Pete's Place Pan60 pop filter or the Stedman ProScreen XL. Both should solve your issues without losing high end response. You can also pickup an SPL De-Esser which, instead of being a frequency dependent compressor, works by doing a phase reversal on the frequencies that are sibilant (it's actually pretty amazing and I prefer it to regular de-essing on my mixes). You also want the singer to be about two fists length off of the mic and the mic should be placed slightly above the singer's mouth on a small tilt away from the singer.
Old 7th August 2009
  #19
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Quote:
Originally Posted by needlz1906 View Post
Hey, so I just purchased a Peluso P12 that I'm using along with a DAV No.5. I just had my first session with my artist(rapper) and noticed that we were getting a lot of sibilance with the mic. Overall the mic sounded awesome but I'm trying to address some of the piercing highs. Should I address it post or pre?

Also, anyone in Atlanta have a Peluso 22 47LE? I'm curious to find out how my artist would sound on that mic in comparison...


Needlz.Net-Work
i would also recommend facing the mic on an angle (up to 45 degrees),
but mainly just writing to say that i'm a big fan of your work and keep it up.
Old 7th August 2009
  #20
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Fletcher's Avatar
Quote:
Originally Posted by kittonian View Post
Try the Pete's Place Pan60 pop filter
The Pan60 pop filter is the BEST I have ever used... however, it's best because it doesn't mess with the treble while killing "wind blasts"... wrong tool for the job.


Quote:
You can also pickup an SPL De-Esser which, instead of being a frequency dependent compressor, works by doing a phase reversal on the frequencies that are sibilant (it's actually pretty amazing and I prefer it to regular de-essing on my mixes).
Dynamic equalizers aren't that new... there are several on the market.

I haven't heard the SPL... but I've heard a lot of the other ones... like the Empirical Labs "Derr-esser" which is not only the best De-esser I've ever used, but has a bunch of other functions [like being able to be used kinda like an "exciter"] that make it an invaluable tool.

Peace.
Old 7th August 2009
  #21
AB3
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When I had a P12 - I used the Empirical Labs de-esser component of the Lil Freq eq. It was the best de-esser. I also had the SPL which I sold and did not like what it did to the vocals. The Empirical Labs was fantastic. I understand the Derr-esser does everything that the Lil Freq eq "de-essing" section can do with I believe even an added feature. So I would highly recommend it.

Get it from a dealer that let's you try it out and return it if you are unhappy. With the P12, I have to bet that you will be very happy.

Quote:
Originally Posted by Fletcher View Post
. . .Empirical Labs "Derr-esser" which is not only the best De-esser I've ever used, but has a bunch of other functions [like being able to be used kinda like an "exciter"] that make it an invaluable tool.

Peace.
Old 8th August 2009
  #22
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The answer is you need 23,218 more mics in your locker. Short of that.....

......positioning/angles - don't have the singer sing straight into the diaphragm.

try turning the mic to the side
try placing it so that the capsule it above or below his mouth.
Try the different patterns while you're at it (for the hell of it, try omni and have him sing into the side of the mic).

If it is someone you'll be working with long term, not just doing a project with, maybe there's some performance tweaks he could work on too (it never hurts).

Good luck.....
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